Ben Hecht was born on February 28, 1894, in New York, New York. While he was a child,
his family moved to Racine, Wisconsin, where he met his “first mentor,” the trapeze
artist Harry Costello. At age 14 Hecht joined Costello as a trapeze performer in his
traveling show. Hecht had little formal education, but was a voracious reader. In
1910, he enrolled at the University of Wisconsin; however, having already read the
required books, he left within the first few days, feeling that the University “had
nothing to teach him.” He moved to Chicago where a distant uncle assisted Hecht in
obtaining a job at the Chicago Journal.

Hecht’s career as a journalist, first with the Chicago
Journal (1910-1914) and later the Chicago Daily
News (1914-1923), influenced much of his later writing. Chicago’s streets,
jails, courtrooms, and citizenry provided ample inspiration for Hecht, who wrote
vivid, authentic, though not always pleasant stories about the city, always seeking
“to remove the mask from the world.” Following World War I, the Chicago Daily News
sent Hecht to Berlin as foreign correspondent. After returning from Europe in 1920,
he wrote a daily column for the Chicago Daily News
entitled “1001 Afternoons in Chicago.” The column was highly regarded and
established a reporting model for the human interest story that was widely adopted
by later journalists. Covici-McGee compiled a selection of these reports and
published a book under the same name in 1922. Indeed, the success of 1001 Afternoons in Chicago overshadowed the release of
his first novel in 1921, Erik Dorn. Hecht’s
straightforward language and style of prose led to federal charges against him for
using the mail to send obscene material, with officials branding his book Fantazius Mallare: A Mysterious Oath (1922) as “lewd,
obscene, and lascivious.”

During Chicago’s eruption of literary and artistic expression between 1912 and 1922,
Hecht was well positioned as a writer and contributor to the Chicago Literary
Renaissance. Among his friends were authors and artists, including Stanislaus
Szukalski, Edgar Lee Masters, Carl Sandburg, Sherwood Anderson, Maxwell Bodenheim,
and Pascal Covici. Hecht was a frequent contributor to and literary critic for the
influential art and literature magazine The Little
Review, founded by Margaret Anderson. Between 1923 and 1924, Hecht published
his own literature magazine, The Chicago Literary
Times. “Attack everything” was the guiding philosophy for the publication
and as its chief—and at times sole—contributor, Hecht did just that, commenting on a
range of topics from literature to politics. During this time, Hecht published three
more books: The Florentine Dagger: A Novel for Amateur
Detectives (1923), Humpty Dumpty (1924),
and The Kingdom of Evil: A Continuation of the Journal of
Fantazius Mallare (1924).

Hecht enjoyed his greater success as a playwright. The
Egotist was first produced on Broadway on December 25, 1922. At that time,
Hecht reconnected with Charles MacArthur, a writer and journalist he knew in
Chicago. The two men formed a life-long friendship and a successful creative
partnership. Their collaborations include the plays The Front
Page (1928), Twentieth Century (1932),
and Jumbo (1935). In addition to their theater
pieces, MacArthur and Hecht collaborated on screenplays and film projects. Their
play The Front Page was adapted into a movie of the
same title on three occasions (1931, 1945, and 1974) and helped establish the
newspaper film genre.

In 1924, Hecht left his wife, Marie Armstrong, and their daughter, Edwina (Teddy), in
Chicago and moved to New York City with writer Rose Caylor. Hecht and Marie divorced
in 1925 and Caylor and Hecht married later that year. They had one daughter, Jenny.
While living in New York, Hecht published eight books, including Count Bruga (1926), A Jew in
Love (1931), A Book of Miracles (1939),
Collected Short Stories (1943), and A Guide for the Bedeviled (1944). A Book of Miracles was Hecht’s most highly praised novel; however, most
of his books were met with little critical or commercial success. In 1940 he joined
the staff of the publication PM, where he wrote a
column entitled “1001 Afternoons in New York.”

It was perhaps with feelings of personal ambivalence that Hecht returned to Hollywood
in 1941 to write screenplays. He was prolific and financially successful, usually
working on more than one screenplay at a time and often completing a screenplay in
less than two weeks. He wrote and contributed—often uncredited—to over 80 screen
stories and screenplays. In addition to six Academy Award nominations, Hecht was
awarded the first ever Academy Award for Best Story for the film Underworld (1927/1928). In 1935 he received the same
award for the film The Scoundrel. Hecht worked
frequently with producers David O. Selznick and Samuel Goldwyn and wrote or
contributed to many classics of the Golden Age of Hollywood including Scarface (1932), Gone with the
Wind (1939), Angels Over Broadway (1940),
His Girl Friday (1940), Spellbound (1945), Notorious (1946),
A Farewell to Arms (1957), and Mutiny on the Bounty (1962).

After Hecht appeared on The Mike Wallace Interview
television program on February 15, 1958, Wallace and his producer, Ted Yates,
believed that Hecht’s demeanor and outspoken opinions were well-suited for his own
television show. The Ben Hecht Show debuted the same
year, but due to its controversial subject matter, was cancelled after twenty-two
weeks.

The Ben Hecht Collection consists of five handwritten and typed manuscript drafts,
galley proofs, and two letters dating from 1924-1958. The materials are
alphabetically arranged in two series: I. Works, 1924-1947 and II. Letters, 1958,
undated.

The largest segment of material consists of five typed, handwritten, and composite
manuscript drafts for Hecht’s novels Count Bruga
(1926), Humpty Dumpty (1924), A Jew in Love (1931), and The Kingdom of Evil: A
Continuation of the Journal of Fantazius Mallare (1924). Three of the
manuscripts contain handwritten corrections. Hecht inscribed and autographed three
of the manuscripts to his friend and publisher, Pascal Covici. Also present are
galley proofs for The Cat that Jumped out of the
Story (1947).

Two letters written by Ben Hecht are also contained in the collection. The first is
undated and handwritten to Mr. Fawcett on Chicago Literary
Times stationery and mentions Hecht’s play, The
Egotist, his indecency charge for his novel, Mallare, and some brief biographical details. The 1958 letter is typed
and signed and addressed to Mrs. Benjamin B. Goodman on American Broadcasting
Company stationery and regards The Ben Hecht Show.

The collection is in good condition; however, the paper for the handwritten
manuscript A Jew in Love is slightly brittle.

Related collections at the Ransom Center include the James Agee Collection, the
William A. Bradley Literary Agency Records, the Pascal Covici Correspondence, the
John Gassner Collection, the Edward Gordon Craig Collection, the Frederic Dannay
Collection, the Theodore Dreiser Collection, the Alfred A. Knopf, Inc. Records, the
Robert Park Mills Papers, the Arnold T. Schwab Collection of James G. Haneker, the
David O. Selznick Collection, the Jule Styne Collection, the Gloria Swanson Papers,
and the Mike Wallace Interview Collection.

The Ben Hecht Papers are housed at The Newberry Library in Chicago, Illinois.